Graphic Design | Professional Writing | Art History

I am a student at Kutztown University majoring in Communication Design with a dual minor in Professional Writing and Art History. My work is influenced by artists such as Henri Matisse, Andy Warhol, and Swiss designers. I believe that form follows function in design. I look to the past for inspiration, collect design and modern art books, and love hunting for mid-century furniture.

Emily Schlotter


The Shining Prop Design

Swiss Style


I applied the International Typographic Style to The Shining, giving a nod to Swiss graphic design of the 1960s.

Above is the logo designed for the Overlook Hotel. The circle is timeless and all-knowing, portraying the idea that the hotel is controlled by a greater being. I used circles in the logo to communicate the psychological effects of the hotel and the way Danny Torrence "shines" with his sixth sense. The logo is used in the hotel's stationery design below.

The liquor bottle designs are based off mid-century modern furniture designers, picking up on their color palette and the emotion of shapes used in their furniture. The modern design concept of form follows function is used in the orientation of the labels; each of the shapes used in the design follow the shape of their bottles.

Jack Torrence's glass of Eames Bourbon, highlighting the engraved Overlook Hotel logo  

Above: Eero Saarinen for Knoll, Tulip Armless Chair, 1957

Furniture designs for the Knoll furniture company are minimalist but bold. I created the Knoll Vodka brand to mimic the Knoll aesthetic, mirroring the design of the Tulip arm chair. In the Knoll brand nameplate, I allowed the negative space to create the letterforms, conveying Knoll's design ideals. The design must be practical and useful, coming second to the use of the chair. The negative space is just as important as the positive.

The use of red in the labels ties into the use of red in The Shining, communicating the murder of the Overlook Hotel.

Above: Charles and Ray Eames, Aluminum Lounge Chair, 1958

I gained inspiration from the way angles interplay with negative space in the Charles and Ray Eames' design, the Aluminum Lounge Chair. The curves in the chair are juxtaposed by the stark black line of the ottoman. I portrayed this contrast in the use of strong positive and negative space within the structure of the letterforms, exaggerating the mood of the chair. In the production of the label, I printed on silver paper to create an industrial feel.

Above: Marcel Bruer, Wassily Chair, 1925

In the Wassily Chair designed by Marcel Bruer, harsh lines are interrupted by calm negative space. Both the harsh rectangles and the soft negative space work together to make the chair a functional seat. To convey this in my design, I allowed the bright rectangles to interrupt the white space, just as the chair does, simplifying a classic design.

The Shining Swiss Style Movie Poster